303 Gallery is pleased to announce our fifth exhibition of new photographic works by Florian Maier-Aichen.

Long concerned with extending the limits of traditional photography into new formal and psychological spaces, Maier-Aichen uses a combination of picture-taking and picture-making as a way to trigger a nebulous conglomeration of personal and cultural signifiers. In an attempt to find new iconographic potential in an increasingly saturated landscape, Maier-Aichen consciously references the past as a way to confer tiered layers of meaning onto his works. “Untitled” (2017), is an ode to Albert Renger Patzsch, who documented the prewar industrial malaise of rural Germany. The beach is desolate and decayed, with a lone figure seemingly forgotten or washed ashore in an echo of lost hope and the entropy of time. In a similarly oblique reference, two small black and white photographs recall the deadpan formalism of Weegee with their use of multiple flashes, as well as the knowing artifice of set design, where natural phenomena (light, clouds) are replaced with elaborately constructed substitutes.

Using pictorial space in another manner is a new series of “Lasso Paintings.” In these works, Maier-Aichen upends photography's classical function, indulging a destructive impulse (erasure or coverture via scribbling) to create layered, semi-narrative abstracts. These hybrid photograph / paintings make use of Photoshop's lasso and brushes, tools meant to select and retouch areas of images usually seen as aberrant or unsightly. The “Lasso Paintings” employ a complete 180-degree flip of these functions, turning the brush into a protagonist in ecstatic, gestural reveries. Programmed tools are turned into absurdist, metaphorical commentaries on photography's new infinite dimensions, making delirious fun of their real-life implications in masking or re-creating truths.

Albert Renger Patzsch has been quoted as saying, “... leave art to the artists, and let us try to use the medium of photography to create photographs that can endure because of their photographic qualities.” Florian Maier-Aichen seems to subscribe to a new notion of the empirical “photographic quality,” one that has been unfolded into a form that leaves no room for Patzch's idealistic separation.

Florian Maier-Aichen was born in Stuttgart, Germany in 1973 and studied photography in Germany and the U.S. His work is included in “Contemporary Photography Forum,” a group exhibition at the Boca Raton Museum of Art, on view November 7, 2017 through April 8, 2018. Recent exhibitions include “Still Life With Fish: Photography From the Collection” Hammer Museum, Los Angeles; “Night in Day” (2014), Los Angeles County Museum of Art; “The Artistʼs Museum” (2010) MOCA, Los Angeles; “The Smithson Effect” (2011), Utah Museum of Fine Arts, Salt Lake City; “Natural History” (2012) Carnegie Museum of Art, Pittsburgh, Museo Thyssen Bornemisza, Madrid (2008) and the Museum of Contemporary Art at Pacific Design Center, Los Angeles (2007). Maier-Aichen lives and works in Cologne, Germany and Los Angeles, California.

It is an occasion to reflect on the past, relish in the present, and hope for the future. It is a season to spend cherished time with loved ones in the spirit of giving. For art lovers, collectors, and enthusiasts alike, the holidays present a unique opportunity to gift a work of art to a friends, family, and colleagues. As winter’s chill fast approaches, there is no better time to enjoy a work of art in the warmth of one’s own home. Agora Gallery is proud to present its upcoming exhibition entitled Tripping the Light Fantastic: A Holiday Exhibition. The exhibition provides art lovers with a chance to both view and purchase artworks at prices meant for everyone’s budget. Featuring works by a multitude of both local and international artists, the exhibition will present a variety of works suited to all tastes. For every work of art purchased, Agora Gallery will donate 10% of the proceeds to The Children’s Heart Foundation.

The exhibition will open on December 7th, 2017, and will remain open until January 18th, 2018.

About Agora Gallery
Agora Gallery is a contemporary fine art gallery located in the heart of Chelsea’s fine art district in New York. Established in 1984, Agora Gallery specializes in connecting art dealers and collectors with national and international artists. The art gallery’s expert consultants are available to assist corporate and private clients in procuring original artwork to meet their organization’s specific needs and budget requirements. With a strong online presence and popular online gallery, ARTmine, coupled with the spacious and elegant physical gallery space, the work of our talented artists, who work in diverse media and styles, can receive the attention it deserves. Over the years Agora Gallery has sponsored and catered to special events aimed at fostering social awareness and promoting the use of art to help those in need.

Allan Stone Projects is pleased to present Wayne Thiebaud: Land Survey, on view from October 26 – December 23, 2017. This exhibition celebrates one of the most prolific bodies of work from one of America's most prominent artists. A selection of paintings and works on paper ranging from 1965 – 2000 highlight Thiebaud’s landscape and cityscape subjects. Significant pieces include the majestic White Mountain, and the inventive city scene, Freeway Curve, both from 1995.

Along with his food and dessert paintings, Thiebaud has consistently made landscapes throughout his career. Recurrent themes of surreal ridges, looming cliffs, winding riverscapes, and vertiginous streets are derived from Thiebaud’s surrounding environment in Sacramento and San Francisco, California and his
native Arizona. With their seemingly improbable compositions, these are some of Thiebaud’s most complex and innovative works, evoking the natural wonders of Yosemite, the Sierra Nevada mountains, humble farm ponds, rolling hills and the bustling streets of San Francisco.

Thiebaud’s landscapes and cityscapes unite representational and abstract forms within a single picture, capturing the mood or feeling unique to a particular place. Although these paintings and studies are inspired by specific locations, Thiebaud heightens their experiential effects. He comments, “I’m not just interested in the pictorial aspects of the landscape—see a pretty place and try to paint it—but in some way to manage it, manipulate it, or see what I can turn it into.” This is the gallery's 27th solo exhibition of Thiebaud's work.

Wayne Thiebaud was born in 1920 in Mesa, Arizona. From 1938-1949, he worked as a cartoonist and designer in California, New York and in the U.S Air Force. He attended San Jose State College (now San Jose State University) followed by Sacramento State College (now California State University, Sacramento), where he received his BA in 1951 and his MA in 1952. Thiebaud had his first major solo exhibition in 1962 with the Allan Stone Gallery. The exhibition received critical and commercial success, launching Thiebaud's career. Allan Stone was Thiebaud’s primary dealer, friend and collector for over forty years, until Stone's death in 2006.

Throughout his career, Thiebaud has been celebrated with numerous awards and solo exhibitions. Highlights include the 1994 National Medal of Arts, given by President Clinton and a 2001 Lifetime Achievement Award from the American Academy of Design, New York. Major retrospectives were held at the San Francisco Museum of Modern Art in 1985 and a traveling exhibition that went to the de Young Fine Arts Museum of San Francisco, the Modern Art Museum of Fort Worth, the Phillips Collection in Washington D.C., and the Whitney Museum of American Art in New York in 2001.Thiebaud will have a solo exhibition at the new Jan Shrem and Maria Manetti Shrem Museum at University California, Davis in January 2018. He was a professor of fine art for over forty years at UC, Davis. Thiebaud lives and works in Sacramento.

Allan Stone Projects is the exclusive representative of the Allan Stone Collection, comprised of modern masterworks, contemporary art, tribal and folk art, Americana, and important decorative arts and industrial design. The gallery curates scholarly exhibitions, produces original publications, advises collectors, and participates in art fairs. Allan Stone Projects (formerly Allan Stone Gallery) opened in its current space in November 2013, following fifty years on the Upper East Side of Manhattan. Founded in 1960 by visionary connoisseur and dealer Allan Stone (1932-2006), the gallery has been admired for over half a century. Today its prodigious inventory stands as a unique amalgam in which major tendencies in Modern art can be traced and celebrated across decades

Nkosi Nkululeko has received fellowships from Callaloo, The Watering Hole and Poets House. He has performed for TEDxNewYork and the Aspen Ideas Festival, a Pushcart Prize nominee and finalist for both the 2016 Winter Tangerine Awards for Poetry and the 2016 Best of the Net anthology. His work is currently published in The Collagist, Third Coast, Pank, Apogee, VINYL, and more. Nkosi lives in Harlem, New York.

Jasmine Gibson is a Philly jawn based in Brooklyn. She spends her time thinking about sexy things like psychosis, desire, and freedom. She is the author of the Drapetomania(Commune Editions, 2015) and Don't Let Them See Me Like This(Nightboat, 2018).

When two emerge at opposite ends of the forest at the same time they are in alignment. They are not the same, they are aligned. They are at the opposite ends of a line. The line is time or the line is geography or the line is a body or the line is a finger. Alignment is a reading series seeking to create relations, clashes, or comaraderies that would not otherwise have occasion. Two readers at different points. The difference is age is medium is location is race is gender is sexuality or the difference is a secret. Readers could be strangers, idols, or opponents. The difference creates a question. The difference creates a mistake. The difference creates alignment.

An opportunity to create something new, challenge their idea of medium, or unearth a piece from their own archive, Alignment welcomes experimentation by providing 30-45 minutes to each reader.

Curated by Adrienne Herr & LA Warman
Adrienne Herr is a poet and performer. She maintains multiple websites where she posts poetry, audio clips, and screenshots. She is the founder of POEM ELEMENTS, a by-donation poetry workshop aimed at fostering an open and supportive literary community. Adrienne has recently performed for Poetry 99, Cixous 72, Motto Books, ATM Gallery, and Poetic Research Bureau.
adriennes.site

LA Warman is a poet and performer. She is the founder of GLASS PRESS, a publisher of art and poetry on flash drives. Warman has had work in shows at MOCA Cleveland, Time-Based Art Festival, General Public Collective, Flying Object, and Open Engagement. She has chapbooks from Inpatient Press and After Hours Ltd. Warman is also the author of Whore Foods, a serialized erotic novella.
LAWarman.com

NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is delighted to celebrate Wolf Kahn—who turned 90 this year—with an exhibition of recent paintings. The exhibition will open 16 November and remain on view through 23 December 2017. A public reception for the artist will be held on 16 November from 6:00 to 8:00 PM. The exhibition is accompanied by a fully illustrated catalogue with an essay by John Yau.

This ambitious body of work represents the past two years of Wolf Kahn’s daily studio practice, and demonstrates his continued exploration of the relationships of color and form. With quick, flickering brushstrokes and delineated bands of vivid hues, Kahn creates landscapes that are simultaneously descriptive and abstract. As John Yau notes, these paintings serve as a means to “explore color relationships that range from moody, dark, subtly shifting tonalities to jarring collisions of saturated intensities.”

Kahn’s work remains rooted in direct observation, with each season producing a new challenge. His recent paintings highlight his finely tuned ability to capture subtle differences in light and shadow: some canvases are suffused with an intense radiance, while others contain darker, more sharply contrasted tones. After many decades, Kahn continues
to make color his primary subject, in all of its shades and permutations.

Born in Stuttgart, Germany, in 1927, Wolf Kahn immigrated to the United States by way of England in
1940. In 1945, he graduated from the High School of Music & Art in New York, after which he spent time
in the Navy. Under the GI Bill, he studied with renowned teacher and Abstract Expressionist painter Hans Hofmann, later becoming Hofmann’s studio assistant. In 1950, he enrolled in the University of Chicago, and graduated in 1951 with a Bachelor of Arts degree.

Having completed his degree in only one year, Kahn was determined to become a professional artist. He and other former Hofmann students established the Hansa Gallery, a cooperative gallery where Kahn had his first solo exhibition. In 1956, he joined the Grace Borgenicht Gallery, where he exhibited regularly until 1995. Kahn has received a Fulbright Scholarship, a John Simon Guggenheim Fellowship, an Award in Art from the Academy of Arts and Letters, and a Medal of Arts from the U.S. State Department.

Traveling extensively, he has painted landscapes in Egypt, Greece, Hawaii, Italy, Kenya, Maine, Mexico, and New Mexico. He spends his summers and autumns in Vermont on a hillside farm, which he and his wife, the painter Emily Mason, have owned since 1968.

The unique blend of Realism and formal discipline of Color Field painting sets the work of Wolf Kahn apart. Kahn is an artist who embodies a synthesis of artistic traits—the modern abstract training of Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, the atmospheric qualities of American Impressionism. The fusion of color, spontaneity and representation has produced a rich and expressive body of work.

Wolf Kahn regularly exhibits at galleries and museums across North America. His work may be found in the collections of The Metropolitan Museum of Art, New York, NY; the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; the Museum of Fine Arts, Boston, MA; the Hirshhorn Museum and the National Museum of American Art, Washington, D.C.; and the Los Angeles County Museum of Art, Los Angeles, CA.

AMSTERDAM WHITNEY GALLERY, 531 West 25th Street- Ground Floor-Chelsea, New York City, is proud to showcase in its glittering and glamorous DECEMBER 15-JANUARY 30, 2018 Holiday Extravaganza Exhibition, which is highlighted by its 16th Annual Holiday Fete on December 16th. In the spirit of the Chelsea Holiday Art Season, AMSTERDAM WHITNEY GALLERY is showcasing unparalleled artworks from talented artists spanning the U.S. and the globe whose works illuminate the vigorous creativity flourishing in the abstract, figurative and natural realms. Celebrating four resplendent Holiday group exhibitions, a link of thematic excellence unites these four exhibitions, offering Chelsea art lovers paintings of sublime superiority. Evocative and dynamic, this Amsterdam Whitney Holiday exhibition exudes an alluring glow with stunning luminous creative energy reflecting an ethereal combination of works which challenge the boundaries of artistic creativity. Pulsating with mesmerizing synergy and sparkling creativity, these holiday treasures are visual gems of sophisticated, eclectic and evanescent representations of the world as they shine the spotlight on a universal artistic language. Reflecting the revitalizing penetration of compelling global ideas in our culture, this cross-continental conversation in art will dazzle the senses during the holiday season for both art acquisitors and art aficionados alike with its incandescent aesthetic explorations of the visual realm.

Andrew Kreps Gallery is pleased to announce Previously…, an exhibition of new work by Liz Magor (b. 1948, Winnipeg, Canada), the artist’s first with the gallery.

Liz Magor’s work finds its center in the peripheral, often replicating the overlooked trappings of daily life and re-presenting them in new contexts. Activated by an interest in the covert, these constructions blur the lines between reality, imagination, and simulation. Creating new and expanded associations, Magor simultaneously draws attention to the objects’ original intentions to satisfy our need for protection, comfort, and affirmation.

The exhibition’s title suggests an ongoing narrative - each day presents a new episode of object management that runs quietly parallel to our larger dramas. The things we assemble are quickly swapped out as their allure fades due to changes in fashion, as well as their own material deterioration; their value consistently tied to their role in our emotional lives. In an act of reversal, Magor’s sculptures suggest the agency of objects, not defined by a relationship to their owners but through the possibility of objects acknowledging each other. The latent influence of these banal, discarded, sentimental and worn belongings is now activated, rescued and resuscitated, relegating Magor’s efforts to the sculptural replication of materials such as cardboard and packaging material, which now serve as platforms and plinths.

On the floor, four large flattened pieces of cardboard cast in pigmented gypsum become stages for affiliations of ceramic objects, trinkets, and textiles. Forming fragmentary narrative excerpts with no specific past or future, these momentos are assigned roles of protection for the others, whose prior existence depended on the fleeting interest of their owners. In this moment of respite the objects entertain their concern for each other, their focus momentarily turned away from our world. In other works, the cardboard assumes volume, making a plinth or a shelf from which things are falling. Here, cartoonish figures tend toward heroism, with their limbs clutching the tops of the boxes as they maintain a tenuous grasp on items of worn clothing. Functioning as protagonists, the figures within these works are vigilant and steadfast, resisting the inevitability of dispersal, damage, and obsolescence.

Two wall-mounted sculptures continue a body of work incorporating damaged and discarded wool blankets. In these works, Magor continues the marks left from their previous lives protecting machinery in a toolshed with materials found within this context; oil-based wood stains, lubricants, marine paint, and rust. By way of her attention, the blankets assume a new self-assurance, simultaneously referencing and enlarging their origin. Hung on the wall and covered with folded acrylic boxes, these sculptures reiterate the protective impulse that unites all the works in the exhibition, as each sculpture leads a sustained struggle against the forces of change, gravity and time that will eventually pull them apart.

Liz Magor lives and works in Vancouver. In 2017, Magor’s work was the subject of traveling survey at the Kunstverein in Hamburg, Hamburg and Migros Museum, Zurich, and opening at MAMAC, Nice on November 17. Other recent solo exhibitions of her work include: Centre d’art contemporain d'Ivry - le Crédac, Paris (2016), Musée d'art Contemporain de Montréal, Montreal (2016), the Art Gallery of Ontario, Toronto (2015), Peep-hole, Milan (2015), Presentation House Gallery, Vancouver (2014), and Triangle France, Marseilles (2013). In addition, she has had solo exhibitions at Henry Art Gallery, Seattle (2008), the Power Plant, Toronto (2003) and the Vancouver Art Gallery (2002). Magor participated in Documenta 8, Kassel (1987), and the 41st Venice Biennale, Venice (1984).

Andrew Kreps Gallery is pleased to announce an exhibition of works by Michel Blazy, Piero Gilardi, Tetsumi Kudo, and Anicka Yi, four artists whose work is united by an interest in the natural world, and its interaction with the artificial. Combining unconventional, and often organic materials with those that are manmade, the works in the exhibition investigate the conflicts, and harmonies that exist between our ecology, and the development of technology.

Michel Blazy (b. 1966, Monaco) often incorporates perishable and living materials alongside readymade objects in his sculptures. In his work Les Spirogyres, 1997, suspended structures resembling meteorites sprout plants over the course of the exhibition, suggesting life forms from another realm. Blazy lives and works in Paris. His work was included in Viva Arte Viva, curated by Christine Macel, the 57th international art exhibition of the Venice Biennale, 2017. Solo exhibitions of his work include Living Room II, Maison Hermés Tokyo, 2016 and Post Patman, Palais de Tokyo, Paris, 2007, among others.

Piero Gilardi (b. 1942, Turin) is one of the pioneers of ecological art, and his work encompasses political activism and community based endeavors. His series of Tappeti-natura or Nature-carpets was initiated in the mid-1960s - floor installations and wall reliefs made of meticulously molded and painted polyurethane that take the form of rocks, plants, and other natural elements, each becoming their own study of a fragile ecology. In 2017, Gilardi’s work was the subject of a survey at MAXXI, Rome. Other solo exhibitions include Nottingham Contemporary, Nottingham, 2013, Van Abbemuseum, Eindhoven, 2012, and Castello di Rivoli, Turin, 2012 among others.

Tetsumi Kudo’s (b. 1935, d. 1990, Tokyo) work spanned sculpture, installation and performance, and was characterized by a disillusionment with the modern world. His dome works from the 1970s suggest environments that fuse the ecological and the mechanical, marked by acrid and polluted colors. Since his death in 1990, exhibitions of his work include Your Portrait: A Tetsumi Kudo Retrospective at The National Museum of Art, Osaka, Japan, 2013, which toured to The National Museum of Art, Tokyo, Japan, 2014 and Aomori Museum of Art, Aomori, Japan, 2014, and Tetsumi Kudo: Garden of Metamorphosis, Walker Art Center, Minneapolis, 2008.

Anicka Yi’s (b. 1971, Seoul) work draws on scientific techniques and processes, creating fictive scenarios that question the often hidden workings of our society. Her work Deep State, 2017 is comprised of two lightboxes with photographic prints of bacteria cultures taken from the offices of Raven Row, London, which reveal the unseen ecosystems underlying the everyday. Yi was the recipient of the 2016 Hugo Boss Prize, with an exhibition of her work at the Solomon R Guggenheim Museum, New York in 2017. Other solo exhibitions of her work include Fridericianum, Kassel, 2016, Kunsthalle Basel, Basel, 2015, and List Visual Arts Center, MIT, Cambridge, 2015.

Asya Geisberg Gallery is proud to present “How Things Act”, the second solo exhibition of Amsterdam-based Marjolijn de Wit. While De Wit has always worked in diverse media, seamlessly interweaving photography, sculpture, and installation, in “How Things Act”, her paintings alternate with and echo smaller ceramic-photo collages. De Wit continues her insight into the field of “future archaeology”, creating a trail of crumbs for imaginary viewers millennia from now. She explores these ideas in her collages, layering ceramic shards upon backdrops of textbook reprints or imagery drawn from old National Geographics. In her paintings, enigmatic fragmented shapes sit atop abstracted backgrounds that originate from the same landscapes, or resemble construction material. In each media, De Wit's work causes the viewer to question what exists physically, and what is a translation, representation, or reproduction. With sleight of hand, she lays out a tapestry of visual trickery, reconstructed artifacts, and misinterpreted histories.

De Wit's studio practice can be likened to an archaeological dig. Working with many found images and hand-made ceramics at the same time, she pieces together opaque elements in order to create meaning. On the other hand, museum displays often seamlessly combine authentic artifact with vast reconstructed sections as a simulacrum meant to convince the viewer that they are witnessing a whole structure. De Wit considers this possibility for the future: mistaking the mostly fake for the holistically real, and leaving open the possibility of a wrong interpretation. The artist leaves hope that perhaps her own work will be “believed” in a museum of the future.

De Wit conjures an art museum that collapses, and asks if in future people would be able to tell the difference between its modern art and construction material. These kinds of thought experiments summon forth the complexity, and playfulness, of De Wit's oeuvre. Always, her material and conceptual explorations settle on what people leave behind, whether on purpose or by accident. Each individual work functions as aesthetic object before shifting into parable. Willfully obscured backdrops, trompe l'oeil shadows, and scale shifts all equally confuse. Perception itself becomes the subject, and a parallel to the future historian's propensity for too-neat conclusions, or theories buttressed on necessarily incomplete data. We squint into the distance and try to make out a perhaps fictionalized narrative, to make ourselves at ease with the inevitable murkiness of history.

Marjolijn de Wit was born in the Netherlands, and lives and works in Amsterdam. She graduated from the Academy of Art and Design St. Joost in Breda, and was a resident at the Rijksakademie in Amsterdam and Sundaymorning@EKWC. Her museum exhibitions include CODA Museum Apeldoorn, NL, the Weserburg Museum of Modern Art, Bremen, DE, the De Pont Museum, Tillburg, NL, the Gemeentemuseum, The Hague, NL, and the Museum Van Bommel Van Dam, Venlo, NL. She has exhibited widely in Europe in the Netherlands, Germany, France, Italy, Spain, and Belgium. Recent solo exhibitions include Galerie Houg, Paris, FR, Otto Zoo Gallery, Milan, IT, Re: Rotterdam Art Fair, Rotterdam, NL, and Spinnerei, Leipzig, DE. She earned the 2013 PULSE Prize, a jury-awarded grant, and has been the recipient of the Modriaan Fund, and the Amsterdam Fonds Voor de Kunst developing stipend. Her work has been reviewed by Artinfo, Collector Daily, and Feature Shoot, among others.

Depois reflects an urban environment composed of equal parts geometry and chance: architecture and bodies, artifacts and sex, order and chaos. Cepeda’s dark, often transitory compositions take form against the meshed grids of contemporary cities. The regular pattern of treads and
balusters in a staircase, the furrows of corrugated tin siding, or the positive and negative spaces of masonry walls find their echoes in the seemingly random placement of beer cans and ashtrays by the side of a bed or a display of antique silver in a shop window or a scattering of puzzle pieces across a tabletop.

The ordered repetitions speak of an underlying structure that is both conscious and subliminal, restrictive in one sense, stabilizing in another. At their most dramatic, Cepeda’s vignettes are reminiscent of film stills. At their most stark they could be abstract expressionist canvases. But it’s the tension between these poles, between some images and within others, that reveal a cultural entropy that is not so much balanced as continuously seesawing against itself.

The images regard you as frankly as an odalisque. Whether you see them as tokens of decay or endurance probably depends on how optimistic you are about the state of the world. But, though unstaged, they still remind us that even our most intimate or offhand activities take place on a physical and cultural set prepared with the enormity and inevitability of a glacier sculpting the earth. Monuments of invisible forces, mirrors of our desire for freedom and control, Cepeda’s images imbue the urban landscape with visceral fleshiness and find architecture in the most fleeting gesture.

Vanessa Albury Shadowgraphs

Nov 30, 2017 - Jan 20, 2018

The Project Space features Shadowgraphs, the gallery's first solo exhibition by artist Vanessa Albury.

Albury photographs under the Lofoten Islands' midnight summer sun to create ghostly cyanotypes of a broken chandelier found at a Norwegian junk store, creating works that speak of the passing of time both physically and metaphorically. Paired with these unique works are sculptures from her Burned Out series. Inspired by incinerated 16mm film and using the raku firing technique, Albury's otherworldly sculptures are reminiscent of remnants of fossil bones found in an archeology site.

NEW YORK, NEW YORK, November 2, 2017 – Berry Campbell Gallery is pleased to announce a special exhibition of paintings by ALBERT STADLER (1923-2000) from November 16 through December 22, 2017. Albert Stadler was a leading figure in the rise of color abstraction in the mid-1960s, addressing the nature of the optical experience in art. This exhibition at Berry Campbell will highlight these developments in Stadler’s career focusing on paintings from the 1970s and 1980s. The opening reception for Albert Stadler: Studies in Color is Thursday, November 16 from 6 to 8 pm.

In the catalogue for Albert Stadler’s first solo exhibition held at Bennington College in 1962, he stated that he saw his canvases as invitations “for the viewer to participate in events, in the activity of color and the relativity of space.” For Stadler, “space . . . and the “to illuminate and elucidate all parts of a painting,” while allowing viewers the opportunity to find their own way through an image. Creating both hard-edge and more ethereal paintings, Stadler united directions in Color Field and Minimalist art, often bridging the gap between the intellectual and sensual and the conceptual and spiritual.

Born in New York City, Stadler attended the University of Pennsylvania and received his BFA from the University of Florida, Gainesville, in 1950. His first solo exhibition was held in 1962 at Bennington College, Vermont; it was among the important shows of modernist art organized at the college by art department director Paul Feeley (David Smith, Adolph Gottlieb, and Hans Hofmann were other artists whose work was showcased at Bennington under Feeley’s leadership). The Bennington Banner reported on September 26 that, consisting of canvases of varying sizes by “a young painter from New York,” Stadler’s show provided “visual pleasure [and] sensuous stimulation . . . if one can let the eye enjoy what it sees.” In 1964, Stadler was included in the landmark exhibition, Post-Painterly Abstraction, organized by the Los Angeles County Museum of Art and curated by the noted critic Clement Greenberg. His three paintings on view were lent by Poindexter Gallery, New York, where he had one-man shows that year, as well as in 1965, 1968, 1970, 1974, and 1975. Writing for Arts magazine, a critic called Stadler’s first show “exciting,” stating that it stood far out for the freshness, breadth and beauty of . . . the paintings,” which were suggestive of the work of Mark Rothko but also “possessed ingredients from current painting assimilated . . . and used in a tough and convincing way.” Reviewing Stadler’s 1965 Poindexter exhibition, Art News commended Stadler for using a method of brushing on his colors instead of employing popular hard-edge plastics, with the result that his muted tones were like “a whisper in a silent roomful of people.”

In 1967, Kermit Champa, then assistant professor of art history at Yale University, published a long article on Stadler in Artforum. To Champa, Stadler’s ability to maintain individual components of color while creating a final effect that was one of absolute visual unity, constituted a breakthrough. Seeing Stadler as mediating between the emphasis of painters of the day on either surface (for example, in the work of Jules Olitski) or structure (for example, in the works of Walter Darby Bannard), Champa stated that his “work has become increasingly unique and important over the past few years, and on the basis of his most recent paintings it seems destined to become even more so.”

Through the 1970s and 1980s Stadler continued to investigate the emotional potential of color by experimenting with different tools and methods. He used spray guns, Q-tips, rollers, and impasto. The result was an old master attention to the entirety of his surfaces, enabling them to be read with equal appreciation at close and far ranges. In a 2017 documentary on the artist, Mike Solomon, an artist and a student of Stadler at Hunter College remarked, “You have to be in front of the thing and experience it viscerally. You’re in the color.You are in the experience.”

In the late 1960s and early 1970s, Stadler participated in prominent showcases including the Whitney Museum of American Art Annual of 1967, Color and Field, held at the Albright-Knox Gallery, Buffalo, New York, in 1970, and biennials at the Corcoran Gallery, Washington, D.C., held in 1973 and 1975. He became a Guggenheim Fellow in 1968 and lectured and taught art at Douglass College, New Brunswick, New Jersey; the Brooklyn Museum, and Hunter College, New York. He continued to exhibit his paintings regularly through the 1980s. He also became known for his large drawings in ink on paper as well as for his prints, including etching, lithography, and color intaglio.

Stadler’s work is included in the collections of the American Embassy, Berlin, Germany; the Brooklyn Museum; the Carnegie Museum of Art, Pittsburgh; the Government Research Corporation, Washington, D.C.; the H. J. Heinz Company, Pittsburgh; the Jack S. Blanton Museum of Art, University of Texas, Austin; the Kresge Art Center, Michigan State University, East Lansing, Michigan; the Montana Historical Society, Helena; the National Gallery of Art, Washington, D.C.; the National Steel Corporation, Pittsburgh; the Rhode Island Museum, Providence; the San Francisco Museum of Modern Art; the United States Information Service, Washington, D.C.; Williams College Museum of Art, Williamstown, Massachusetts; and Yellowstone Art Center, Billings, Montana.

BERRY CAMPBELL GALLERY continues to fill an important gap in the downtown art world, showcasing the work of prominent and mid-career artists. The owners, Christine Berry and Martha Campbell, share a curatorial vision of bringing new attention to the works of a selection of postwar and contemporary artists and revealing how these artists have advanced ideas and lessons in powerful and new directions. Other artists and estates represented by the gallery are Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, Judith Godwin, Balcomb Greene, Gertrude Greene, John Goodyear, Ken Greenleaf, Raymond Hendler, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Jon Schueler, Mike Solomon, Syd Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James Walsh, Joyce Weinstein, and Larry Zox.

Berry Campbell Gallery is located in the heart of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. For information, please contact Christine Berry or Martha Campbell at 212.924.2178 or info@berrycampbell.com.

Bryce Wolkowitz Gallery is proud to present Polarities, its first exhibition with Pepa Prieto and Dean Monogenis.

Pepa Prieto's abstract paintings establish a dissonant geometry equal parts exactitude and ambiguity. The works in this exhibition are studies in abstraction rendered in the language of mark-making. Familiar surfaces are measured against each other while senses of memory and retrieval are played out on canvas. There are painterly accidents and painterly discoveries tempered by form. There are borders and folds, stripes over unbalanced surfaces, colors vying for a way out and dramatic contusions disrupting the composition. All of this patterning disseminates energy. To what end? Nobody knows, but the works are irrepressibly alive.

Dean Monogenis' aggregated landscapes twist one's perspective in unexpected ways, toward a visionary feeling. These fractured, immaculate symmetries owe as much to de Chirico as to Hockney's swimming pools. We see boldly unsettled surfaces with emissions of light and energy radiating over a humanized landscape. We see precise, clipped versions of nature, joyful in their surface quality and resonance. The paintings highlight the tension between the hard edges of architecture and the dynamic chaos of the natural world. The viewer is left with the bewitching allure of the open sky, still water, sunlight and a feeling of disruption.

What do these paintings have to do with each other? A work doesn't have to be abstract in order to create a space where distance is abolished. In both series, scientific objectivity is gone and a plurality of space is emphasized. Shapes become signifiers, interfering with reality. Both artists embody a vivid experimentalism, amalgamating the possibilities of the rectilinear frame, exploring and manipulating the illusory flatness of painting in order to alter one's sense of the possible.

C24 Gallery proudly presents Mindscapes, a solo exhibition of new paintings and works on paper by New Orleans based artist Regina Scully. Mindscapes will be on view November 2 – December 23, 2017 with an Opening Reception on Thursday, November 2 from 6pm- 8pm.

This new collection of immersive works invites the viewer to enter, explore, and travel through Scully's imagined worlds of gesture and color. Her artworks recall experiences and memories unique to each viewer, and encourage the onlooker to escape the barriers of the physical world. The paintings embolden the viewer to let go of the rational mind that governs perception and engage oneself in inner exploration through a unique visual experience.

Scully’s paintings exist in the realm of both playful and contemplative discovery. Incorporating elements of abstraction with hints of figurations, her works are dynamic aggregations of an entangled atmosphere filled with familiar symbols, shapes and environments.

Patterns of delicate brushwork, poured paint, and a unique use of space and palette create a complex pathway made from vivid colors and rhythmic movement, inherent to the artist's work. Painting from an intuitive and open mindset, Scully experiments with new combinations of colors and creating space and form while also challenging ideas about sight and perception. By continually changing her working environment with lighting, mood, and orientation of the canvas while painting, Scully pushes the boundaries of not only her practice, but of physical and psychological space.
Regina Scully lives and works in New Orleans, Louisiana. Born in Norfolk, Virginia, Scully received her B.F.A. in Painting from Rhode Island School of Design and her M.F.A. in Painting from University of New Orleans. She has exhibited throughout the United States, including most recently at The New Orleans Museum of Art. Scully’s paintings are in private and public collections including the New Orleans Museum of Art, Microsoft Art Collection, the Frederick R. Weisman Art Foundation Collection, the Capital One Art Collection, and the New Orleans Museum of Art. A catalog of recent paintings and works on paper with an accompanying essay by Dan Cameron was published in Summer, 2015.

Cassina Projects New York is pleased to announce Gerold Miller’s first solo exhibition in the US. The Berlin based artist will present a survey of major large scale works produced between 2007 and the present.

Since his beginnings as an artist, the viewer has played an important role as a critical entity as well as an active participant in Gerold Miller’s artistic research. He has never offered a ‘painting’ or ‘sculpture’ in the traditional sense, rather his work is based upon the premise of an as-yet-unformed sculptural space and projection surface. Repetition and seriality are important artistic tools within Gerold Miller’s artistic practice. “Every work is unique and changes in material, color or size. These works become an illustration of what `con•temporary‘ means: a temporal concept that describes a process that goes ’with time’. Every series is grounded in a concept that investigates space, always pointing to the future through a process that never produces the same work.” (Anne Luther, 2016)

Series like instant vision, set, and section oscillate between abstraction and reality, content and non-content, picture and object. Their frontal orientation accords with the surface aestheticization tendencies of our visual culture. Random impressions reflect in their perfectly hand lacquered monochrome surfaces. The void of the monochrome is turned into the protagonist, representing everything and nothing, while the interplay of matt and glossy lacquer, or contrasting colors give rise to a virtual space behind the picture plane.

Verstärker (amplifier) is the first series of free standing, not wall-related sculptures in Gerold Miller’s oeuvre. As an open structure of three beams, the sculpture indicates, with minimal means, the basic notions of three-dimensionality that all of his objects entail: height, length and depth. Hence Verstärker literally pictures a fundamental recurring theme within his artistic research: The exploitation of the innumerable possibilities of describing the infinite space.

The result of the survey is a calculated collision of concepts: the real 3D space of the Verstärker versus the virtual space created by set or instant vision. The calm and openness of Monoform versus the defined shape and animated dynamics of the section. The open interplay of different parameters like space, void, form and color as well as the aspect of an active involvement of the viewer contradicts the traditional theory of the image as a static and hermetically sealed object. In so doing, Gerold Miller’s practice connects to the American avant-garde artists of the ‘60s and ‘80s.

Gregory Van Maanen has been reborn many times in this lifetime. Each time presented itself as a transition into another kind of life. Each time pushed him into his unique art more deeply.

The first and most significant rebirth was his war experience in Vietnam in which he was seriously wounded. Essentially, he rose above the tragic and bloody tunnels and battlefield. In his own words he was sent back to earth, having been told by a Voice that it was not his time yet, and to continue with his life. He was still a teenager.

This near death experience became his muse. He arrived back in the United States, became a pacifist, and began making art. He took advantage of the free GI Bill program, which landed him in Mexico for a while. Through his art-making he struggled to avoid the terrible post-war traumas so many of his fellow vets were going through. His work became a journal of his forgiveness of war’s demonic violence and energies.

War takes one beneath the veneer of civilizations’ shallow politesse. Van Maanen was opened to universal worlds of spirits, raw emotions and the harsh realities of the Natural world.

He moved to Paterson, New Jersey where he lived hermetically, filling his studio with hundreds of fierce and beautiful sculptures and paintings. His studio became a cave in the concrete jungle.

In the mid-1980’s Cavin-Morris Gallery began to represent Gregory Van Maanen. For us he broke the existing canon of what was then known as 20th Century Folk Art. He was no folk artist nor was he part of the artworld’s mainstream. His work took us further into the idea of Art Brut, and the use of art as a pure unfettered vehicle of transcendence. It was feral.

In 2007 Kohler Foundation purchased his entire studio as an urban indoor environmental site. The studio was then gifted to John Michael Kohler Arts Center, in Sheboygan, WI, which is known for its focus on artist-built environments. Van Maanen moved to Rochester with his partner, June Avignone, and tried to get his bearings in an entirely new physical situation and community. The basement of his house became his new studio. After a year or so it began to feel like his cave again and he continued to freely push those visions forward.

This exhibition, the first since his move to Rochester, is yet another rebirth. His paintings pursue an alternative plane of existence. He is an artist for whom everything has meaning and portent, a true animist. With his art he holds the darker side at bay, and feeds his amuletic stories to the process of light and life. The variety of imagery he is able to invoke in his tight personal vocabulary speak to every world culture.

Organized by Alexander Campos, Executive Director & Curator of The Center for Book Arts

This exhibition features DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, the most recent in a series of artists’ books by Felicia Rice in collaboration with contemporary Chicano/Latino artists and writers. DOC/UNDOC is a mixed media artists’ book housed in a hi-tech aluminum case seven years in the making. It includes Felicia Rice’s images, performance texts by artist/writer Guillermo Gómez-Peña, critical commentary by art historian Jennifer González, video by artist Gustavo Vazquez, and sound art by Zachary Watkins. But the object itself carries a crisis of identity: What is it exactly? A border kit to face the uncertainty of future crossings? A traveling case for apprentice shamans? A reliquary for imaginary saints? A toolbox for self-transformation? It is all these things and it is also an original book, a performative artists’ book in search of a new format and a new audience. Each element stands by itself, but together they form an indescribable whole.

DOC/UNDOC is an interactive, immersive work of art that combines 19th-century print technology with 21st-century digital typography; performance art and poetry; video and sound art; Old World traditions of the cabinet of curiosities with New World Mexican and Chicano traditions of altar making. This exhibition will also include works from Rice’s Latino and Chicano series.

Felicia Rice set Moving Parts Press in motion in 1977. For 40 years she has collaborated with others to create book structures in which word and image meet and merge. She employs traditional typography and bookmaking methods in conjunction with digital technology, bringing the flexibility of screen-based design to the texture and history of the letterpress-printed page. Work from the Press has been included in exhibitions and collections both nationally and internationally, and has been the recipient of numerous awards and grants. Felicia also explores the book as performance art in her spoken word performance practice.

Organized by John Roach, Assistant Professor of Fine Arts at Parsons School of Design and Art and an interdisciplinary artist

In the style of Alfred Jarry:

“The book is a mechanism, a piece of technology with multiple parts. It is a device fitted with a central hinging structure, which when opened doubles its surface area as if by magic. This machine is by no means limited solely to forward motion and its bilateral division, enabled by its hinged spine, makes a fluid multidirectional transport possible and also inevitable.”

Following this notion of the book as not only object but of mechanism, The Internal Machine suggests a perspective that considers the book object as a piece of technology. Utilizing a thought process that highlights the relationship between form and function and their dual contribution to the movement of a book through time and space, The Internal Machine prompts the question of a book’s structure in relation to its purpose.

Organized by Alexander Campos, Executive Director & Curator for The Center for Book Arts

“I work with the book. It is my chosen medium for the simple fact that it can contain and embrace all artistic media and expressions. Within the book, an infinitely complex array of materials and techniques come together and combine with a history as rich and diverse as we who create and use it. I often refer to the book in its totality as Alchemy.” – Mark Cockram

This exhibition encompasses examples of Cockram’s recent production in which he has been exploring the more creative side of bookbinding and the wider field of book arts. He has been given the opportunity to work with some fantastic text blocks provided by understanding and adventurous collectors. The creative bindings he makes push him technically and artistically to maintain a balance between reflecting the visual and literary content of each book, while expressing himself as a contemporary artist.

Mark’s books tend to be multi-dimensional, offering plenty of visual and physical texture and a variety of display opportunities. He often creates extended book sculptures and formats, expanding on the codex form without compromising the functionality of the book itself. His books are meant to be read and handled. Throughout his career, Mark has enjoyed working with collage and bricolage and has increasingly brought that to his bindings, employing layering techniques, using found objects, non-traditional materials, and unconventional structures. In his most recent work he is exploring how he can use the book structure as a vehicle for aspects of his artistic life and output that people may not be aware of. Thus, his current fascination with the total, complete or artist’s book.

Mark Cockram has been a professional bookbinder, book artist, and teacher for over 25 years. After studying art and design at Lincolnshire College of Art (1982-84), Cockram worked as a freelance artist and designer. He discovered his passion for bookbinding and book arts whilst working in Paris. After graduating from the fine bookbinding and conservation course at Guildford College of Technology (1990-92), he went on to study Japanese and French bookbinding and related subjects at Studio Livre (Tokyo) and London College of Printing (BA (Hons) Book Arts and Crafts, 2000-2002). Cockram opened his first bookbinding studio in Lincoln in 1992. He opened Studio Five in London in 2003. He teaches various aspects of bookbinding and related book arts at home in Studio Five and elsewhere in the UK, Europe, and Asia. His diverse work is represented in public and private collections around the world, including The National Art Library at the Victoria and Albert Museum, the Library of Congress, the British Library, and The Grolier Club (New York).

Chambers Fine Art is pleased to present ROADSIDE PICNIC, a group exhibition of Chinese artists living in New York, curated by Hiroshi Sunairi and Yixin (Sam) Gong.

The title of the exhibition is taken from a short science fiction novel written by Arkady and Boris Strugatsky in 1971. The 1979 art film “Stalker,” directed by Andrei Tarkovsky, is loosely based on the novel, with a screenplay written by the Strugatsky brothers. Set in the indefinite future, the “Stalker” works as a guide who leads people through the ”Zone", an area in which the normal laws of reality do not apply. Touching upon themes of displacement and changing realities, the curators will present the work of 10 artists: Chang Yuchen, Lang Zhang, Miranda Fengyuan Zhang, Tan Tian, Tiger Chengliang Cai, Tingying Ma (in collaboration with Tina Wang and Kang Kang), Wang Tuo, Yi Xin Tong, Wei Xiaoguang, and Weigang Song.

Compared to the practices of Chinese artists represented in much of the current Western art scene, these artists, educated in the United States, create works that defy the ‘exoticization’ of their Chinese-ness. Their use of diverse art mediums, including painting, video, film, installation, performance, dance, drawing, and sculpture are fused with personal, idiosyncratic, theoretical, formal, satirical, poetic and ineffable contents.

“As the title implies, ROADSIDE PICNIC is the food meant to be eaten on an excursion by the side of a road. Where does this road lead to within the New York art world, to a maturity of style and content back in China, or toward becoming the leading voices of contemporary discourse? ROADSIDE PICNIC is a celebration of the state in flux as our global world rattles anxiously and attentively”.
- Hiroshi Sunairi, Stalkert and Yixin (Sam) Gong, Bubble B.

About the curators:

Hiroshi Sunairi was born in Hiroshima in 1972. Dealing with issues of collective memory and the public sphere, he creates sculpture/installation and cinema on various contents.

Sunairi has exhibited internationally, and he teaches in the Art Department at New York University.
Yixin (Sam) Gong was born and raised in Xiamen, China, and is a curator and researcher based in New York City. He has worked on several non-profit institutions in China and Southeast Asia. Gong studies Art History at Rutgers University.

Cheim & Read is pleased to announce an exhibition of new work by Donald Baechler, which will open on November 2 and run through December 23, and be accompanied by a catalogue with essay by Phoebe Hoban. This is the artist’s seventh solo show at the gallery, where he also co-curated the group exhibition, I Won’t Grow Up, in 2008.

With this show, Baechler continues his explorations of heavily outlined, iconic imagery set against richly textured, layered fields. In many of the new paintings, the field is composed of fabric collage, overlaid with striations and blots of pastel-colored acrylic paint. The forms are thick and solidly rendered; floating untethered within its borders. There is an awkwardness and alienation that infuses his figures, which include sickly looking, moon-headed men; a handcuffed prisoner guided by a police officer’s hand; and a pair of armless, Brancusi-inspired lovers locked in a kiss.

Critically, Baechler has been linked to the Neo-Expressionist generation of painters, but he has also been deeply influenced by the Conceptual artist Joseph Kosuth, and he has listed Cy Twombly, Giotto, and Robert Rauschenberg as the three artists most important to his thinking. Expressive brushwork combined with abstract, formal rigor has defined Baechler’s work from early on, and these paintings, which are deeply embedded in the history of modernist and postwar art, foreground their visual links to artists as different as James Ensor and Jean-Michel Basquiat.

In a sign of the times, however, Ensor’s grimly masked reveler now bears a nauseated grimace, while the graphic punch of Basquiat’s unruly, graffiti-based paintings is pressurized into self-contained forms outlined in black and often highlighted in white. The cutout quality of these images, painted flatly against a bustling field, present the figure-ground relationship in terms of polar opposites, further enhancing the paintings’ sense of enigmatic estrangement.

Donald Baechler was born in Hartford, Connecticut, in 1956. He attended the Maryland Institute, College of Art, Baltimore (1974–77) and Cooper Union, New York (1977–78). In 1978–79, he spent a year studying at the Staatliche Hochschule für Bildende Künste, Städelschule, Frankfurt am Main. While in Germany he became acquainted with Jiri Georg Dokoupil and Walter Dahn.

Baechler’s work is represented in the collections of The Museum of Modern Art; The Whitney Museum of American Art; and The Solomon R. Guggenheim Museum, all in New York; The Museum of Contemporary Art, Los Angeles; The Museum of Fine Arts, Boston; The Philadelphia Museum; and The Centre George Pompidou, Musée National d’Art Moderne, Paris.

Cristin Tierney Gallery is pleased to present Sign of Abandonment, an exhibition of new paintings by Jorge
Tacla. It opens with a reception on Thursday, November 2nd from 6:00 to 8:00pm, and closes December 16th. Sign of Abandonment precedes a major survey of the artist’s work at Fundación Corpartes, opening November 21st in Santiago, Chile.

Tacla’s new series of paintings continue the artist’s decades-long exploration of the invisible structures and systems at work in society. Like other recent works, they
feature heavily impastoed, expressionistic surfaces wrought in oil and cold wax, and limited palettes of grey, blue, and red. Also similar are the artist’s subjects: buildings and real places, distilled from Tacla’s memory as well as his vast archives of images from photo albums, books, magazines, and the Internet. But whereas previous series often presented deteriorating or destroyed spaces to the viewer, the architecture
featured in Sign of Abandonment remains seemingly intact.

This shift in depiction is key. Instead of urban ruins and rubble, the artist presents extant museums, libraries, and universities from all over the world. The political
significance of these sites, which have traditionally functioned as centers of learning and as repositories of knowledge, is undeniable in the current era of alternative facts and moral relativism. By prominently featuring them in Sign of Abandonment, Tacla
echoes the widely held belief that history’s lessons hold the secret to our future failures or successes.

The painting Señal de Abandono 22 (or Sign of Abandonment 22) illustrates the Trinity College Library in Dublin. Home to almost 200,000 rare and significant books, including the Book of Kells and a copy of the 1916 Proclamation of the Irish Republic, the Trinity Library is a valuable historic site. However, Tacla presents it as empty aside from the books—an allusion to the fact that spaces such as these are rapidly
disappearing, moving away from their original missions, or growing increasingly devoid of patrons and visitors with the advent of the Internet. It has become a scene of
abandonment. Presented together in a group, Tacla’s new series may be seen as a warning, and a call to remember our history before it is too late.

Tacla’s upcoming survey at Fundación Corpartes will showcase several never-before-seen paintings from the Sign of Abandonment series alongside some of the artist’s earliest canvases from the 1980s and 1990s. Entitled Todo lo sòlido se desvanece (or “All that is solid melts into air”), the exhibition is organized by curator and critic Christian Viveros-Fauné. A catalog will be published to accompany the show.

Jorge Tacla (b. 1958, Santiago, Chile) creates tactile, ghost-like paintings that blur the formalistic boundaries between abstraction and representation to present an unsettling view of the world. After studying at the Escuela de Bellas Artes, Universidad de Chile, he moved to New York in the 1980s. His work has been shown in respected institutions across the world, and select exhibitions include the Museo de la Memoria y los
Derechos Humanos (Santiago, Chile), Art Museum of the Americas (Washington, DC), Tufts University Art Gallery (Medford, MA), Bruce Museum (Greenwich, CT), 55th Venice Biennale, Dublin Contemporary (Dublin, Ireland), and Sharjah Biennial 10 (Sharjah, UAE). Tacla’s work is represented in numerous collections including the New Museum (New York, NY), High Museum of Art (Atlanta, GA), Museo de Arte Moderno (Mexico City, Mexico), and Museo Nacional de Bellas Artes (Santiago, Chile). Among the artist’s many awards and fellowships is the Rockefeller Foundation Bellagio Center residency and the Guggenheim Memorial Foundation Fellowship. A solo show of the
artist’s works on paper opens December 2nd at Galería Animal in Santiago, Chile. Tacla lives and works in New York and Chile.

For more information please contact Candace Moeller at candace@cristintierney.com
or +1.212.594.0550.

For Immediate Release: September 28, 2017
GAIL THACKER
Between the Sun & the Moon
Exhibition dates: November 2 – December 22, 2017

Daniel Cooney Fine Art is pleased to announce our first solo exhibition of Polaroid and large-scale color photographs by New York City based artist Gail Thacker titled Between the Sun and the Moon. The show will consist of approximately 40 photographs made over the past three decades, all involving manipulation of the Polaroid format.

Thacker has been producing photographs for almost 40 years and belongs to the renowned group of artists informally known as The Boston School. Members of The Boston School studied and met one another in Boston during the 1970’s and migrated to New York circa late 70’s - early 80’s. Specifically, Thacker attended the Boston School of the Museum of Fine Arts from 1978 to 1981 with her immediate circle: Mark Morrisroe, Pat Hearn and Steven Stain.

In addition to the Polaroid process Thacker has used analog photography, painting, film and performance in her artistic practice. In 1988 her friend Mark Morrisroe, gravely ill from AIDS, gave her the Polaroid 665 film from his refrigerator and asked her to use it. This was a turning point in Thacker’s artistic practice as it allowed her to work with a negative that could be manipulated and printed.

Each of Thacker’s photographs require individual attention, the way one might address a painting. Some prints are marked upon, others are torn and taped or collaged. Each print has it’s own identity, it’s unique color, it’s personal decay and fragments of time passed. Between the Sun & the Moon is a gathering of moments that make the artist’s life. It is a love affair with the people that have crossed her path, some for minutes, others for decades, many gone and some still present. Consistent in her work is the city of New York, her destination when she left Boston in 1981 and the place she still calls home.

Thacker’s work is included in public and private collections such as: The Leslie Lohman Museum of Gay and Lesbian Art, NYC; The Polaroid Collection, MA; FotoMuseum, Switzerland; CGAC, Spain; The Hadley Martin Fisher Collection, FL; Lenox Hill Hospital, NYC; The City University of New York; and The New York Public Library.

She has been featured in publications such as: The Polaroid Book (Taschen Books); There Was a Sense of Family: The Friends of Mark Morrisroe (Moderne KunstNürnberg); Mark Dirt (Paper Chase Press); and Tabboo! The Art of Stephen Tashjian (D.A.P.). Thacker has also appeared in The Daily News, The New York Press, The New Yorker, Frontiers Journal of Women Studies, Providence Town Magazine, The Village Voice and The New York Times.

David Krut Projects, New York is pleased to present ‘Showing Truth to Power,’ Diane Victor’s third solo show with the gallery. The selection of work on view, comprised of smoke drawings and lithographs, represent a parallel political dialogue between contemporary South Africa and the United States. The title of the exhibition, ‘Showing Truth to Power,’ is a meditation on both countries’ grassroots attempts at shining light on abject misuses of political power that obstruct social justice.

Victor is established as a major figure in the South African and international art communities, and is renowned for her expert printmaking and draughtsmanship. Her drawings and prints are known not only for their technical skill and compulsive linear detail, but also for their sharp political and social commentary and satire. Her works, although often drawn from global historical and mythological references, speak of the social and political inequalities and complexities of South Africa. Violence, racial anxiety and sexual repression are common ideas represented in the works. Combining both thematic and technical skill, Victor impresses powerful ideas on the viewer, never shying away from controversial or taboo subject matter. Victor's works are included in many collections, including: The Metropolitan Museum of Art, MoMA The Museum of Modern Art, New York Public Library, The Baltimore Museum of Art and the Minneapolis Institute of Art, among others.

All works on view were created during Victor’s latest residency through the David Krut New York gallery in March 2017. The lithographs titled, ‘Showing Truth to Power’ and ‘Little Dystopia’ were made during this residency in collaboration with the Center for Contemporary Printmaking in Connecticut.

For more information please contact meghan@davidkrut.com or lauren@davidkrut.com

De Buck Gallery is pleased to present Anton Yelchin: Provocative Beauty. The exhibition will open Wednesday, December 13, 2017 and will remain open until Saturday, January 20, 2018. The selection of 54 images spans from a productive 6-year period of photographic exploration.

At the time of his tragic passing at the age of 27, unbeknownst to most of his friends, Anton was pursuing a second career as a photographer. During this period, he documented a wide range of subjects using a Leica camera as well as disposable cameras. This exhibition focuses on portraits, self-portraits and interior images that Anton captured while exploring this private world. These photos include many intimate portraits of friends, family and also complete strangers. All of these people trusted Anton to convey his intimate interactions with them.

Anton was known primarily for his work as an actor in films such as Star Trek, Green Room, Like Crazy, Terminator: Salvation, Alpha Dog and many more. Yelchin’s career began as a child when he received roles in Curb Your Enthusiasm, The Practice, Hearts in Atlantis, Delivering Milo, and ER. Passionate about photography since childhood, Yelchin was embarking on a second career as a photographer at the end of his short but beautifully-lived life, having been commissioned to shoot for a number of international publications.

De Buck Gallery wishes to honor the legacy of Anton Yelchin’s life and to recognize the tremendous creative energy, output and talent that he possessed.

The artist’s portion of proceeds from sales will be donated to the Anton Yelchin Foundation. These funds will be used for a variety of programs empowering artists who face career challenges due to debilitating disease or disability.

The exhibition is co-curated by Clayton Calvert and Rachel Vancelette.